180. One Awesome Lineup

February 2008: It's four and a half years before the release of Dredd, a film adaptation of 2000 AD's flagship character. The film will star Karl Urban, Olivia Thirlby, and Lena Headley, and be acclaimed by a wide spectrum of filmgoers and fans as one of the very best of all comic-to-movie adaptations. Dark, brutal, uncompromising, and very violent, the movie is, by any criteria, a complete triumph. Any criteria other than financial, sadly. Its North American distribution is left in the hands of the incompetent boobs at Lionsgate, who couldn't market beer at a football game, and whose strategy seems to consist solely of telling theater owners that it would be a hit but neglecting to tell anybody else, anywhere. The film performs well in Europe, but in the United States, it flops, ignominiously, despite incredibly good reviews from dozens of critics, leaving the prospect of any sequel films in doubt. We'll never get the Ampney Crucis TV series that I want at this rate.

Four and a half years before people started pointing fingers at film companies, however, 2000 AD released an issue with this amazing cover of Shakara slicing a tyrannosaur's head in half. Who has time to be discouraged about movies when you've got this in your funnybooks?

The first lineup of 2008 has got to be one of the comic's all-time best. In fact, it's so darn good that, when we come back to the weekly comic in two installments' time, and see what a complete mess the spring '08 gang is, everybody will be Monday morning quarterbacking, asking what in the heck Tharg could have done to avoid the quality plummet that starts around the time of prog 1577. See, what we've got in these issues includes a really terrific seven-part Dredd adventure by John Wagner and Colin MacNeil called "Emphatically Evil: The Life and Crimes of PJ Maybe," along with the third Shakara story by Robbie Morrison and Henry Flint, the second adventure of Stickleback by Ian Edginton and D'Israeli, the second Kingdom story by Dan Abnett and Richard Elson, and another rollicking Strontium Dog case by Wagner and Carlos Ezquerra.


Which one is the best? Take your pick at random and you could make a strong case. Wagner's two stories have a comfortable feel, even as Dredd is breaking new ground. When we last saw PJ Maybe, disguised as Byron Ambrose, he had been elected mayor of Mega-City One. Now, he's dealing with a copycat killer who's somehow implicated the mayor in his crimes, while Dredd and Hershey revisit the mutant problem. Ambrose/Maybe figures out who the mystery serial killer is, but just after the judges do, leading him to take out his pique on the "true crime" writer who inspired the murders, and the judges vote to relax the old mutant laws. This is going to prove enormously huge, and drive the next few years of Dredd's stories. Comparatively, Johnny Alpha and Wulf Sternhammer collecting bounties and busting heads is nothing new, but very entertaining. This will actually turn out to be Wulf's last appearance to date, I believe. The next two "flashback" stories are set before Johnny and Wulf met, and then the series will move to "the present," and finally start telling stories set after "The Final Solution."

Meanwhile, in Stickleback - my favorite of the five, but only by a hair - the Victorian-era supercriminal and his weirdo gang cross swordsticks with Buffalo Bill Cody, Annie Oakley, and a bunch of other Americans who are performing in a traveling circus when they're not pilfering London of weird, occult treasures. This story's got everything from zombie cowboys to steampunk robot battlesuits to Chinese dragons. It's a complete triumph, but, perhaps, not one of character drama.

What goes on in Kingdom when Gene the Hackman finds a colony of humans and a strange species of gigantic, telepathic ticks is miserable and tragic on every page. You can't empathize with the cast of Stickleback, even with the new and strange mystery about his deformity possibly being a bizarre costume instead, but Gene's tale is a heartbreak on every page. The reader knows better than Gene not to entirely trust these good-natured people, even while sympathizing with their problem. They're under siege from the alien insect "them" outside the fence of their colony, and it's a slow and deliberate siege. Gene quickly understands what the humans don't - the bugs are testing their defenses and slowly wearing them down over months. But there's far more going on than that, and secrets being kept from Gene. He doesn't like that at all.

That leaves Shakara, who is cutting dinosaurs in half. This time out, we learn more about this series' wild and ugly universe, and that the red-eyed, mad-eyed screamer seems to be descended from, or a survivor of, some similarly loud and violent blue-eyed species. Lots of things get cut in half, and the giant psychic eyeball people come back, and we get both a recurring supporting player in the absurdly curvy form of Eva, and, in a thunderously effective cliffhanger, a wild new recurring villain. And he's got blue eyes.

But never mind that, scroll back up and look at that cover again. Do you see what Brendan McCarthy drew? It's SHAKARA CUTTING A TYRANNOSAUR IN HALF. I don't know why anybody ever reads anything else.

Stories from this issue have been reprinted in the following collected editions:
Kingdom: The Promised Land (Volume One, from Amazon UK)
Shakara: The Avenger (Volume One, from 2000 AD's Online Shop)
Stickleback: Mother London (out of print, link to Amazon UK sellers)
Strontium Dog: Traitor to His Kind (2000 AD's Online Shop)

Next time, it's over to the Megazine as veteran artist John Cooper gets a new assignment, and new writer Al Ewing creates a very strange new character. See you in seven days!

170. You say potato, I say potato...

December 2006: It is around this point in time that I, your humble blogger, the most nitpicky and trainspotting of 2000 AD fans, picked up on a little quirk of Tharg's lingo that has been bothering me, and absolutely nobody else, ever since. It's our favorite Betelgeusian's insistence on using Terran broadcasting terminology to describe the appearance of new comics in his mighty anthology of thrillpower. You see it in Tharg's input on the inside front cover, and you see when his humanoid units such as Mike Molcher and Matthew Badham contribute interviews or features for Judge Dredd Megazine. It's this utterly bizarre use of "series" to mean "story." Even today, for example, we are all looking forward to the "second series" of The Grievous Journey of Ichabod Azrael in a few weeks. Well, everybody but me; I'm looking forward to the second story of that series. I appreciate and enjoy that the good people of Britain use different words to describe things than we do; it makes for great comedy when you're reading a British Christmas annual of the '70s American cop show Kojak thrown together by some studio illustrators in Glasgow on their lunch hour and they've got Telly Savalas shouting "Fetch a torch from the boot." But sometime in the 1940s, the BBC decided to call a "series" a "programme" and a "season" a "series," and around 2006, Tharg decided to follow suit.

I mention this because Prog 2007, the annual year-end Christmas issue, features the debut stories for two remarkably good series that are as good as comics get. These are Kingdom by Dan Abnett and Richard Elson and Stickleback by Ian Edginton and D'Israeli. Each of these is insanely popular, featuring absolutely classic lead characters, and they're each just tremendously good. I also mention this because today's entry is going to be an immensely boring chapter for anybody to read, because all it would be is "wow, wow, wow" otherwise, so I might as well say something to raise an eyebrow and make you think that I've lost my marbles instead of my supposedly objective viewpoint.

Overall, I think that Kingdom is the more popular of the two series, and it is also my favorite of Dan Abnett's many excellent creations. There have been four stories so far, the most recent concluding in March 2011. The lead character is Gene the Hackman, a huge, muscular, genetically-engineered dog soldier. The series opens in Antarctica, and Gene is the alpha dog of a pack that patrols the wasteland killing huge alien bugs. The soldiers have limited intelligence, but wake every morning to "urges" from unseen masters giving them orders and instructions. One morning, after they have discovered that there is a land bridge connecting their area to some unknown place across the sea, they wake and feel no urges. This leads to discord and disunity, and Gene insists that they return home to report on the bridge.

The soldiers, all of whom have curious names that pun 20th Century celebrities like Tod of Much Slaughter, Ginny Woolf and Jack So Wild, are drawn with sharp and engaging personalities. Despite their inability to express much, their simple and direct patois makes each character instantly recognizable from each other. In the above panel, Tod tells Gene that his "mouth is full of wrong," and this instantly became a catchphrase in the same way that, oh, "Gaze into the fist of Dredd" or "Be pure, be vigilant, behave" had decades before.

I'm impressed by a lot in Kingdom, but it's Abnett's use of narration that really pleases me the most. There is a lot of it, and it is lyrical and beautiful, framing the story as a very important fable in some community's folklore. Masterfully, the use of captions abruptly ends at critical moments of the story, as Gene finds very strange new things. That is, they are certainly very strange to him, but readers will instantly recognize and understand concepts like "isolated research bases in the Antarctic waste staffed by cryogenically-frozen humans revived for monitor duty" by the visuals. It is unlikely that Gene would ever be able to understand that sort of thing with that terminology, so the narration is occasionally tabled so that readers can watch Gene explore and comprehend things. Gene may not be intelligent, but he turns out to be very wise.

I don't believe that a fifth Kingdom story has been formally announced, but I hope that we won't wait much longer for it to return. It is one of the best things to appear in the comic over the last decade. That said, I'm one of the very few who actually enjoys Stickleback even more, and we've been waiting for it to return since the ambiguous conclusion to the fourth story more than two years ago. (There have been three multi-part stories and a single one-off.)

I like the structure of Stickleback a lot. Edginton does a fabulous job in "Mother London" in introducing us to the characters after a really curious prologue scene in which two characters from British folklore, the giants Gog and Magog, agree to be ritually slain. Their blood becomes Albion's blood, and feeds all of the land's rivers, and allows a great tree to grow. London is born from the stability brought by the roots of this tree. All of this will, over the course of time, tie in to Edginton's work on The Red Seas and other series.

But that was many hundreds of years ago. Time then skips forward to the dirty East End of Victorian London, where Scotland Yard has employed a young detective, Valentine Bey. Bey is hunting down a charlatan fortune teller who uses clockwork automatons - again, just typing a very slight account of the goings-on in an Edginton story raises a smile - and gets a lead, the first solid lead that anybody in the Metropolitan Police have ever had, about the existence of the much-rumored Stickleback, a "Napoleon of Crime" figure whose existence nobody has been able to ever confirm. The villain appears for the first time in the story's third episode, where he is revealed to be a spindly, long-legged hunchback with a second spine. He boasts, horrifically, that giving birth to such a child caused his mother to die from internal bleeding, but a great deal of what Stickleback says cannot be trusted at all.

Edginton is hardly the first writer to base a character on Professor Moriarty, although to my mind, nobody has bettered Rex Stout in his similar creation of Arnold Zeck in the Nero Wolfe novels. Like Moriarty, Stickleback controls an organized crime empire and enforces a brutal code of conduct among the criminals of London. What Moriarty never had was a gang of weirdos to back him up. These include a zombie, a burning man, Siamese twins with steampunk surveillance gear, and a pygmy with a blowgun.

There's a fantastic bit of rug-pulling in this first adventure. Stickleback has abducted Bey to enlist his help in a curious matter. He alleges that Bey's superior is involved with another grand criminal conspiracy, and wants to employ the law-abiding Bey to ferret out that corruption. Stickleback, after all, has enough to do dealing with honor among thieves in the East End; he hasn't the resources to tackle some Masonic - Royal business in the upper echelons of the police. This is an incredibly entertaining story, and seems to be setting up a series in which Bey and Stickleback would continue their war across several stories of uneasy alliances and awkward double-dealings. But no, thunderously, the first adventure ends with Bey dead and that weird prologue about Gog and Magog shown to be of immediate, fantastic impact on the narrative, and Stickleback's power consolidated in a triumphant finale. I was left breathless for more.

Kingdom and Stickleback each run through March 2007 alongside the mammoth new ABC Warriors multi-book epic, about which more next time, and 2000 AD feels more vibrant, alive and amazing than it had at any time in 2006. And it had been a very good year! But a lineup this thunderous doesn't come along just every day. Looking over 2000 AD's wonderful and busy history, can anybody name another prog in which two such amazing and excellent stories debuted? Tharg spoiled us. (Oh, yeah, and it also featured new episodes of Judge Dredd and Harry Kipling (Deceased) and The 86ers and Nikolai Dante and Sinister Dexter... sheesh!)

Stories from this issue (everything except Sin Dex) have been reprinted in the following collected editions:
The 86ers: The Complete 86ers (2000 AD's Online Shop)
The ABC Warriors: The Volgan War Vol. 1 (Amazon UK)
Harry Kipling (Deceased): Mad Gods and Englishmen (free "graphic novel" bagged with Judge Dredd Megazine 323, from 2000 AD's Online Shop)
Judge Dredd: Origins (2000 AD's Online Shop)
Kingdom: The Promised Land (Amazon USA)
Nikolai Dante: The Beast of Rudinshtein (Volume Eight, from 2000 AD's Online Shop)
Stickleback: Mother London (out of print, link to Amazon UK sellers)

Next time, it's giant mecha-Stalins against the ABC Warriors! See you in seven!

100. One hundred page Megs

In the summer of 2001, Judge Dredd Megazine was relaunched into in its most eyebrow-raising incarnation yet. After some experiments with the page count and frequency of the weekly 2000 AD in 1998-99, leading to the hundred-page end-of-year progs on sale over three weeks, the Megazine has begun its new, fourth volume. Renumbered #1 for the fourth and final (we hope) time and costing £3.95 a month, the Meg was now a hundred-page, squarebound comic. In the US, the comic retailed for $9.99 in comic shops. With mainstream superhero books usually running $2.50 for 22 pages of story, suddenly the Meg is really good value for money, even if we were getting kicked in the teeth by a mysterious extra couple of bucks - at a flat exchange rate, £3.95 should have worked out to just under $8 in 2001. Across the Meg's hundred pages, about ninety were devoted to story: forty pages of new comics and fifty of reprints. About half of the reprint pages came from 2000 AD's archives. This time out, they included two episodes of Ro-Busters by Pat Mills and Dave Gibbons and three episodes of D.R. & Quinch by Alan Moore and Alan Davis. The other half would come from other British books. For its first few issues, the Meg includes the first four episodes of Lazarus Churchyard by Warren Ellis and D'Israeli, which originally saw print in 1991 in the short-lived anthology Blast!.

Ellis is among a small number of well-known British comic creators without much of a 2000 AD footprint. He only contributed a couple of one-offs to the Meg's earliest issues before finding success elsewhere. I don't know much about his work, to be honest. I'm more aware of the stereotype of an Ellis comic than the reality, but if you're looking to disprove the suggestion that Warren Ellis comics feature foul-mouthed tough guys with snappy comebacks getting drunk and blowing smoke everywhere while taking the moral high ground with smug condescension despite their vices and addictions to the latest weird technology, then Lazarus Churchyard isn't going to help you much. The character is clearly an ancestor of Elijah Snow and Spider Jerusalem, so if you enjoy Ellis's later books, you will probably find Churchyard pretty readable. The complete run is available as a collected edition from Image called The Final Cut. I wouldn't call myself a fan, but the third Megazine does reprint a truly creepy episode entitled "Lucy" which I'm looking forward to reading again.



Even more interesting than Ellis's story is D'Israeli's very unconventional artwork. It looks like his work in the early '90s was inspired by European artists such as Oscar Zarate, but I'm a pretty long way from being able to speak with authority about this kind of material . I do see similarities in color choices between what Brooker does here and what little I've seen of Zarate. He's also using a very shallow field, resulting in foregrounded figures who seem flat, and I wasn't sure what that reminded me of until I looked at some later issues of Crisis which reprinted some episodes of Jose Muñoz's Alack Sinner, and that's when I remembered how Keith Giffen had reinvented his style to resemble Muñoz.

At any rate, whomever it was that Brooker was studying, it's obviously pretty early in his career. Much, much better stuff would come from him after 1991. He's developed into one of my very favorite comic artists, and while this material isn't really as satisfying as what he's done in this decade, it's certainly very interesting to see how his work has evolved.

As for the new material, well, it's much more entertaining than decade-old Churchyard. Judge Dredd now has an expansive 15-page strip, the first part of a storyline called "The Bazooka" by John Wagner and Cam Kennedy. This one revisits some characters from the competitive eating circuit first seen a few years back in the weekly. In this story, they're running a "fat camp." For people who want to get fat.



Plus there's the return of Andy Diggle and Jock's rogue ex-judge Lenny Zero in an excellent two-part adventure, and a new SF tale called Wardog by Dan Abnett and the art team of Patrick Goddard and Dylan Teague. This one's based on a Rebellion video game, but it turns out not to be all that bad despite a goofball premise. Our hero has a bomb in his head and if he fails to complete a contracted mission before the timer hits zero, he dies. I suppose that's the next natural step from the countdown clock in most video games, isn't it?

The Megazine would keep this format for the next year and a half, before it gets tweaked to become even better. Some of the strips don't completely knock you down, but overall, it is a fine mix of color and black and white, and of new and previously-printed material. David Bishop was editor during this period of reinvention, and he deserves full marks for making the best Megazine yet.

In other news, Rebellion recently issued "The Promised Land," the first collected edition of Kingdom, a very pleasant surprise from the Atavar team of Dan Abnett and Richard Elson which debuted without hoopla in December 2006 and proceeded to knock all the readers on their backsides with its incredibly clever take on the hoary old post-apocalypse genre.

Giving away too much about Kingdom would really spoil the great pleasure in watching it unfold and learning about the wild and dangerous world the creators put together. It starts with a pack of nine foot-tall genetically engineered dog-soldiers patrolling a wintry landscape and chopping apart hideous, slimy alien bug-things. The pack's alpha male is called Gene the Hackman and like the others, he speaks in slow, careful, simple sentences. The dialogue is countered by a surprisingly rich narration, suggesting the stories of Gene and his pack are treasured tales from a long, otherwise forgotten time. It's a comic where part of the joy is simply following the construction of the language, and how often do you get to say that about a comic book?

Of course, Kingdom proves to be about something bigger and sadder than the snow-covered wastes that these characters walk around, and as the scope increases to incorporate other characters, so does the opportunity for heartbreak and really powerful drama, the sort that Abnett doesn't often get to write in 2000 AD's pages. Each of the two series of Kingdom (2006-07 and 2007-08) are reprinted in this book along with some great-looking extra artwork by Elson. The third series is in production and planned to appear in 2000 AD later in the year. The book's certainly worth your time; every page is a real treat.

Next time, I'll be taking a pair of short summer breaks, but there's one last entry before I go, and in it, Garth Ennis returns to Judge Dredd. And the VCs. And Old One Eye. And D.R. and Quinch. And more. See you in seven!